Top.Mail.Ru
Percussion

Dmitry Klemenok

In the orchestra since 2022

Born in 1973 in the city of Molodechno (Belarus), he graduated with honours from the St. Petersburg State Rimsky-Korsakov Conservatory and its postgraduate programme (the class of A. Mikhailov, 2000).

In 1998, he took part in the Leigh Howard Stevens Summer marimba seminar. In 2000, he won the first prize at the Open All-Union Competition for Performers on Winds and Percussion Instruments. He has repeatedly participated in percussion competitions as a member of the jury. He participated in the international project BEE250VEN, dedicated to the 250th anniversary of Ludwig van Beethoven.

From 1994 to 1998 he worked at the St. Petersburg State Academic Capella. For more than 20 years he has worked at the St. Petersburg Philharmonic, including 10 years as an concertmaster on timpani.

Read more…

For 15 years he has been teaching at the St. Petersburg Rimsky-Korsakov Music College in the percussion class. He regularly gives master classes.

He has performed with such conductors as Mariss Jansons, Yuri Temirkanov, Zubin Mehta, Valery Gergiev, Alexander Lazarev, Mstislav Rostropovich, Maxim Shostakovich, Gennady Rozhdestvensky, Vladimir Ashkenazi, Neeme Järvi, Vladimir Yurovsky, Yuri Simonov, Vassily Sinaisky, Christoph Eschenbach, Krzysztof Penderecki, and others.

WHY HAVE YOU CHOSEN YOUR INSTRUMENT?
I studied in Minsk, at a ten-grade school at the Belarusian Conservatory. Until the fourth grade, I had studied piano, while my older brother studied drums. I looked up to him, and I liked the percussion itself, so in the fifth grade I changed the instrument and immediately realized that it was right for me.
WHAT UNUSUAL INSTRUMENTS HAVE YOU EVER PLAYED?
Modern composers are great inventors, they write a lot of interesting music. For example, recently at a concert I was banging bricks with a hammer — the author attributed them to percussion instruments. I broke down Lego on stage a couple of times. I sawed with a real saw, and that had to be done following the scores — there were eighths, and sixteenths, and quarters. We percussionists have enough similar experiments in musicAeterna and in other projects.
WHAT KIND OF MUSIC DO YOU LISTEN TO AT HOME?
I like jazz-rock, jazz-funk, cool jazz: Al Jerro, Chick Corea, drummers Steve Gadd and Dave Weckl and their ensembles. Among my favourite bands there is Level 42, for example. When we are working on a particular piece, I listen to different recordings of this music in the car on my way to work.
WHAT DO YOU DO IN YOUR FREE TIME?
My family and I like going out of town: picking mushrooms, stopping by the lake, making barbeque. We often visit Pushkin and Peterhof, where there are beautiful parks. If the weather does not allow us to get outdoors, then we can go to an exhibition — fortunately, in this sense there are plenty of opportunities in St. Petersburg.

musicAeterna orchestra events

+
February 12, 20:30
Modena | Teatro Comunale Pavarotti
Richard Wagner: Der Ring Ohne Worte | The Ring without Words
Symphony concert

Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung
Compiled by Lorin Maazel (1987)

I Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried
IV. Götterdämmerung | The Twilight of the Gods

The musicAeterna Orchestra
Conductor Teodor Currentzis 

+
February 13, 20:00
Florence | Teatro del Maggio Musicale Fiorentino
Richard Wagner: Der Ring Ohne Worte | The Ring without Words
Symphony concert

Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung
Compiled by Lorin Maazel (1987)

I Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried
IV. Götterdämmerung | The Twilight of the Gods

The musicAeterna Orchestra
Conductor Teodor Currentzis 

+
April 5, 20:00
Moscow | Great Hall of the Conservatory
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out
+
April 6, 20:00
Moscow | Great Hall of the Conservatory
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out